nvr mnd blog
Mad MaxThe 4th Iteration of the Australian Dystopian Action series, which initially saw the silver screen light of day in 1979. Directed by George Miller, [produced by Byron Kennedy, and starring Mel Gibson]. Two sequels followed the very profitable grossing original, in 1981 (Mad Max 2: Road Warrior & 85’s Mad Max Beyond The Thunderdome). This 4th installment was released on the 15th of May.What I found beyond the overly priced movie ticket, within the theatre of a light polluting building attached to the middle of a shopping centre, was something I have experienced before. There does seem to be some sort of a trend becoming of these 90’s action recurations. Revamping the original audiences, and recovering any that may have been born too late to have been apart of the ladder. Such films as; Robocop, Jurassic World (a follow up to the series Jurassic Park), & T5, which is a retelling of the rebel factions of man and machine. These uncanny films are childhood favorites of mine. Mad Max was superb, gritty, & very fresh for its time. Drastically different than what I am familiar with or generally associate the pedigree of films in the action genre could present themselves as.This film, focuses on a character named Max. Played by one of the most brooding and menacing, most often in his typical roles, Tom Hardy (the Dark Knight, Bronson). Again we see him in a violent role, he isn’t angry this time around, well the way he displays it is a bit more – unique! He says very little in the entire movie. Possibly because one of the movie’s other main focuses [yes, there can be more than one thing to focus on in a particular film] is the Female Protagonist(s) and their “Hierarchy” [or
Rise There Of].Living on roads vapid of any sort of life across the spectrum, Max is an infamous mercenary, a survivor of an unknown wasteland. We find our anti-hero being held captive by dangerous individuals, underground, in a cavernous sewer. Memories course through this mans’ twisted mind. Max is deeply haunted by deaths of those many people, he has failed to protect on his path. Fury Road illustrates the path in which he much take this toxicity within himself, purifying himself from the agonizing pain of his past, fueling his dexterity against the odds.There’s a bit of familiarity here with the series brand. It has not attempted to stomp itself out completely, for the hopse of higher revenue with a targeted market, The director really tries to tell a fresh, and enriched new tale in the exact same universe, but by removing so many of the flashy parts of a new action film, and focusing on the story telling and relationships between each of the characters. Its is all layered in so well, you can barely tell that this universe is not real, and not a realm you can visit. Well not anytime soon at-least. The studio behind this release understand how to represent strong graphic-novelist desertpunk elements visually. The characters, as well as the set designs are still beyond what my expectations set them up to be. This sorta “Steampunk vs Cyberpunk, Post-Human, & Aztec” juxtaposition together- executes so nicely. Creating an a vivid, yet accurate exaggeration of a shitily governed fallout, leading to chaotic gang acclimation, followed by a terramorphing of public resources, by the elitist powers hungry for dessert trash. The composition of many of this films’ elements are simply breath taking.Something I couldn’t forget to mention is the vehicles, and their concept designers. Mad Max is built off the hearts of those who appreciate the clear sweat, tears, and hard work that goes into the series vehicular level of customization in each design. The muscle memory is there, and is still looking as yoked as ever. Black matte, high riser engines, and hard bodies. They certainly didn’t miss the mark on that attribute of the series.The battles are outrageous, exciting, and leave you wanting more.[Warning Reading Further May Result In Spoilers]Max spending most of the first half of the film in captivity, finds himself in one cage after the other. From the sewer, to the first dessert vehicle road war we find him cuffed and chained to the front of what I believe is an original Ford vehicle from the Early 50’s or 60’s. Up until the reach a monumental sandstorm, comprised of dust, tornados of fire, and the more than occasion lighting strike, it doesn’t seem as though there is much hope for Max, but that isn’t to say, this world has very much hope in it. Something universal in regards to its genre. Horror Romance novels as its heritage in the literary sense. Nature solves its own problems, and the storm settles. Max awakes from a crash, covered in sand, and barely able to remember what has happened – although it’s fairly clear. He is chained to the car he had been strapped to and the driver and passenger are dead. Seemingly leaving him abandoned and chained to a dead man, right up to the point where we is about to blow a mans’ arm off with a shotgun, he’s just stumbled upon – seconds later he hears the sounds of an engine, and carries his new “friend” over to a tanker oasis, the bald female semi-truck driver, has parked her ride, and her stowaways (who are stolen breeders of the faction out to drain Max of his blood) are washing from a hose connected to the tanker reservoir. This quickly escalates to him fighting against the driver. The man Max is chained to wakes up, and this fight gets a bit more interesting. 4 opposing sides, 1 battle. I’m sure you can imagine.[End Spoiler]† NVRMND †
A while back I had the opportunity to sit down with a very relevant & quite interesting individual. Many of you may be familiar with Tedy Brewski, a few of you might not, so I suggest the two of you get familiar. The artist musician/producer Tedy Brewksi is hailing from Michigan, but origins suggest he fell out of his mother somewhere in Hartford, Connecticut. A black rapper, a black artist. A revolutionary to the punk / hip hop genre, creating a unique realm for his sound, and visual counterpart for himself. If you follow his music, you may have been aware that since 2012 he has been really rocking the public microphone. Taunting society with a new release about every year Give or take when he has used Monikers to drop additional material on us. Take a look below at his most recents, and spend sometime listening to his material, you wont be disappointed. I promise.
NN: Let me start by asking how you are, and what you have been doing for the past two months ?
Tedy Brewski: I’m doing pretty good, in an optimistic mood about the future. In the past two months I’ve just been working part time and making new tunes. I’m a substitute teacher I just sit there and surf the net lolol. After work I usually either do recording sessions for my boys or veg out. Life is cool tho no complaints. Right now we are in the dead of the winter, everyday in the suburbs is shoveling and ice chipping, life kinda sucks but its cool too. I’m chillin.
NN: What came of the end of 2014 for you ?
Tedy Brewski: At the end of 2014, (around Thanksgiving) I put out this album called Black Friday under the alias Typical Black Punks. It’s an experimental album, a huge jumble of modern sound with genres from the past.
“Black Friday is a record by Connecticut-based artist Tedy Brewski released under the monikerTypical Black Punks. The name, a double entendre, denotes a concerted effort on Tedy’s part to create music that was influenced by the punk music he’d been listening to of late, as well as explicitly convey the project’s theme of race in the United States.”
“The record doesn’t look back to punk music, it circles back around in time and then time-warps back to the present forcing the past to come with it.”
NN: What plans have you made since then for your music, or your art ?
Tedy Brewski: Right now its early in 2015, I’m getting back into the internet scene and trying to work with as many artists as possible in order to grow artistically and reach new audiences.
NN: Albums, Possible Video Release Dates ?
Tedy Brewski: I think my next one is going to be called Wipe Out Mixtape. I’ve done a bunch of random songs over the past month and I wanna bring back some wavy shit once the weather gets nicer. Most of the time my albums have some kind of cohesive story or theme. What I have right now is random as hell. I’ve been building a team locally in Connecticut with some friends and we plan on putting out a bunch of videos. Its interesting because I became such an internet based artist because my local scene was so weak when I first started making music. Over the last year the local scene has grown so much it’s exciting to see inspired creative people going in.
NN: Do you plan on traveling , or touring within this year ?
Tedy Brewski: It’s all about connections and whether the stars align. It wouldn’t be surprising if I do some shows in New York and DC this spring and summer. I’m currently located in Connecticut and I want to help build this scene. I’m really open to anything and I want to work with anyone who is down. Realistically, I could probably use a larger following before I can start touring seriously. I’m actively seeking management so we can turn up to a new level. Regardless, I’ve got a pretty flexible schedule and performing is in the game plan just no confirmed shows at this moment.
NN: What was the last most important work that you completed – How well do you believe it was received ?
Tedy Brewski: Typical Black Punks was my last project and maybe my most important. Musically it challenges everything you would expect from some random internet rapper. Socially the project crosses cultural boundaries and tackles political issues. I think it was pretty well received. Most people dug it. I was disappointed no one really challenged me about my stance on some issues. I’m going to try harder next time to piss people off. I think its one of those projects that people will slowly stumble on to.
NN: When you began your project, did you expect the turn out you have received so far ?
Tedy Brewski: I really didn’t know what to expect. I figured some people would be like wtf is this and turn it off. I think I’ve got a core fanbase who are just down for whatever I do and then there are the people who are still not convinced. If I can get ten, fifty or a hundred new people who are down with me with whatever I put out then I am happy as fuck.
NN: When did you know you wanted to begin this project ?
Tedy Brewski: I made a song called Lost In The Wave under the alias Typical Black Punks in like 2012. I wrote it off as just some one time thing. At some point in 2014 my friend Black Kray put out this remix of Boys Don’t Cry by The Cure and I was like damn people really wanna hear this kinda shit. So after that I was hell yea I gotta try and do this album but I still didn’t do it. Later on in the year I had this really shitty job and I was like fuck this and I stopped going to work and I just made that shit in like a month. Shit was hella fun got intense, learned about alot of music and payed homage to hella counter culture.
NN: What do you want to convey, or what have you also found that you do convey in frequently in your materials ?
Tedy Brewski: I want to let people know that they can do whatever the fuck they want if they put in the work. I wasn’t born some musical prodigy, I can’t play any instruments with proficiency but I have a dedication to going ham. Like if you listen to my music and think I’m mad good thats only cuz I’ve spent mad hours going ham and I’m sure you can do the same at whatever you choose. I hope that that message is being conveyed with my music.
NN: What reflects the least, what should be focusing on ?
Tedy Brewski: My goal is to uplift people and bring people together. I might say some ratch shit or sum non conscious shit sometimes but the end goal is self understanding and spiritual growth and hippy shit like dat.
NN: How many releases have you successfully produced ?
Tedy Brewski: I started putting out mixtapes and albums in 2010. Since then I have put out 10 releases that I can think of. The last two were entirely produced by me which is an awesome feeling. There would probably be more albums and mixtapes but some of the ideas just fall apart during the creative process.
NN: How do you feel being called a #NVRMNDKID or that you’re one of the #NVRMNDCRU ?
Tedy Brewski: A #NVRMNDKID is probably someone who is open-minded and willing to experiment. Someone who is sexy as fuck with hella steeze so yea I’m cool with being a #NVRMNDKID. I’m lovin’ the CRU. Much love ya’ll.
Peace signs and Dollar signs.
Thrive & Prosper
Photo by Suzannah Herbert
Everyone remembers Cities Aviv, Gavin Mays born in 1989; for his productions Digital Lows (in 2011), Black Pleasure; Black Pleasure through streetwear company Mishka NYC‘s record label before signing to Young One Records – 2012), and after then the album; titled Come to Life (2014), now his fourth release, a brand new iteration into Memphis Tennessee producers’ mental, an album titled Your Discretion Is Trust (2015).
Cities Aviv has been featured in both Spin, as well as Pitchfork. This album sort of presented me with the problems of an individual facing the loss of his time; from either spending to much of it on-with-or-for some particular person, or object, or identity [even], or possibly through aging, or as a maturing problem or person, but that the blocks on which social & natural dictated thoughts, & personal affirmations indicate feelings of unrest & desires for more affection through that which has programmed itself or ourselves with, & is or will become apart of us.
The first four tracks, are amazing and the most unique, the fifth is an interlude, and by no means deserves to be skipped over. I want you to feel those and a few others out for yourselves. (Lets talk about a few, full listen below)
Classic Cities (6.Earth Signs (feat. RPLD GHSTS); 1:46) reminding me of how his raw percussion two-stepping hardcore progressiveness influences me in such a way, I cannot stop listening. Such awesome production, the bells and whistles are really clean on that one, and again Aviv has excellent vocal styles, you cant really get tired of listening to him talk about things you relate to so well such as a song on the album; like 8. Discrimination; 2:43. A track that attempts to tackle the corruption of the media, events in Baltimore, relationships or the inverse of such regarding white rappers. Chanting, “Discrimination, Turn The Page”. It’s wicked, and it such a clear depiction of pop-culture. The tracks that follow this recipe on this LP are going to be timeless pieces for this young artist, who is often times channeling a sort of guerrilla revolutionary,
Eventually we Interlude, (14. Survival Fit; 03:53), to a woman (I’m assuming, is a companion of Gavin’s or relative. Im not quite sure. At first I thought it was a little kid, but I do not know. I enjoyed what they said rather anyhow,) but she goes on to describe something call “Nature-ology“. The unknown context to which I am stricken by and feel as though I don’t need an explanation for what it could be defined as, yet I would want to the author of the terminology to explain to it to, to correspond if I even knew it myself. Truly it is a tale, of survival. Never let anyone stop you from doing what you want to do in your life, “live freely…”, he says, “until we sleep in those boxes”. This lyric is featured in Survival Fit is the last track on the Album, but also my favorite, along with the very industrial psycho noise of the Nico Interlude, a very wishy-washy gargle of angsty distortion,
It’s process is completed once its stifles our self-governing skills, and not having the power true have the true understanding of being programmed by the a hateful system, or one that doesn’t wish you to fulfill yourself. . Our powers must be activated from within ourselves, the world must be be altered, to fill voids in the minds of many desperate people including ourselves. A new spectrum of expression as an artist whose validity is uncanny, for the pure fact that he is reflecting his understanding of these faces he sees are unfortunates parodies of what they could or should have possibly become in turn.
A big diss to what society on the “upper crust” believes, is the only American society that exists. Due to it sheer unintelligible behaviors & the size of the consensus and popularity of itself, while it destroys multiple platforms of the rest of the worlds ability or option to invoke their helpful or demonized controversial suggestions. His latest genre bending No Wave, Power World Nature, Anti-Pop Post-Violent album has reached the entrance to our mind on pop-counter pop-cultics and post-anti-socialistic systems programed into us. There are some dark elements, and there some very playful elements in not only the production of the instruments, but overall. I highly recommend this album. Whether you are an avid listener of Cities Aviv or otherwise, this piece is 14 tracks deep, including the brief minute or so long interludes. There are only a few. It’s a great experience, and am most likely going to return to it a quite a bit to listen to.
Sisters of Mercy, a group formed in the UK in the lates 80s early 90s… The Sisters of Mercy are an English Gothic Rock band that formed in 1980. After achieving early underground fame in UK, the band had their commercial breakthrough in mid-1980s and sustained it until the early 1990s, when they stopped releasing new recorded output in protest against their record company, or the one they had prior. Currently, the band is a touring outfit only. On 15th October 1983 Temple Of Love entered the UK Independent Charts peaking at #1. After the success of “Temple of Love”, the band signed a contract with major record label WEA. This 7″ contains the original 1983 version of “Temple Of Love” which has not been released on CD. SIDE A: Temple Of Love 3:52 SIDE B: Heartland 4:42 VINYL GRADE: Vinyl: Near Mint Sleeve: Near Mint RELEASE INFORMATION: Label: Merciful Release – MR 027 Format: Vinyl, 7″, 45 RPM Country: UK Released: 1983 Genre: Electronic, Rock Style: Goth Rock Credits: Producer – Andrew Eldritch Recorded By – Chris Nagle, Richard Scott (2) Find The 7″ On DISCOGS
3.Dom & Roland-Punish Me
4.Everything But The Girl-Walking Wounded(Omni Trio Mix)
5.Mos Def-Universal Magnetic(IQ Collection)
6.Mobb Deep-Eye For An Eye
9.$lurredGOD & LUCIFEAR-VOID#ATYANECK9988
10.Heltah Skeltah-Operation Lockdown
12.Sneaker Pimps-6 Underground
13.Death Threat-She Falls
14.Black Kray & Jayyeah-RatchetGoth
19.Bobby Shmurda X Eric Stanley-Hot Nigga
21.Novelist X Mumdance-Shook
22.Dahlia Black-Fuck a Rap Song
23.Ice Pope & Graves-XEO
24.Youngstar-Pulse X(Slackk Rmx)
26.Soulja Boy-Swag Daddy(Morten_HD edit)
27.Dizzee Rascal-Stand Up Tall (Celestial Trax Secret Bootleg)
29.White Christian Male-Blood
30.BWWWOYS x 4BIDDEN-GUILE
#ELECTRONIC #TRIPHOP #HIPHOP
A track Shantasy (originally known as Zombelle) released back in the greys, a well deserved listen to one of her most haunting waves. It certainly offers itself a more of her #Witchouse side showing. This particular Drone experience than what many may remember her rocking in 2011, accredited with #SEAPUNK with her Shantasy Island Mix, or Tropocalypse, but if you’re a fan of her work, it will definitely get you right. It’s, truly one of my favorite things to see how much of a variable transition an artist can make to fully realize themselves, or grow into another form, yet maintain 1. An audience. 2. A sense of character or soul-full-ness. I have been a fan of Shantasy for quite some time, and often enjoy returning to her workings from time to time.
† NVR FORGET †
#NVRFORGET, WHEN Shantasy #ZOMBELLE x Sean Bowie of T.E.A.M.S. PERFORMED THOSE BANGER SHOWS FROM THE MINI TOUR PRESENTED NVR MND.
Heres Sean Bowie of T.E.A.M.S